Gonzales Coques

Belgium (16181684 ) - Artworks Wikipedia® - Gonzales Coques
COQUES Gonzales Portrait Of A Gentleman

Sotheby's /Jan 25, 2007
15,410.70 - 23,116.04
35,986.16

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Artworks in Arcadja
85

Some works of Gonzales Coques

Extracted between 85 works in the catalog of Arcadja
Gonzales Coques - Portrait Of A Young Man

Gonzales Coques - Portrait Of A Young Man

Original
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Gross Price
Lot number: 753
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Description:
Anonymous sale, Paris, Christie's, 20 June 2007, lot 31. 753 Gonzales Coques ANTWERP 1614 OR 1618 - 1684 PORTRAIT OF A YOUNG MAN, HOLDING HIS LAPEL oil on copper, oval 15.1 by 11.2 cm.; 6 by 4 3/8 in. Estimate 8,000 - 12,000 GBP Print Please notify me when the condition report is available
Gonzales Coques - Jeune Famille Devant Un Feu De Cheminée

Gonzales Coques - Jeune Famille Devant Un Feu De Cheminée

Original
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Gross Price
Lot number: 193
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Gonzales Coques (vers 1614-1684), Jeune famille devant un feu de cheminée Huile sur panneau, 41x55 cm Historique: Collection George Watson Taylor; Vente Christie's, Londres, 13/06/1823, lot no. 39; J. Stuart Wortley; Collection Lord Wharncliff, 1833; Collection Lord Taunton; Collection E.A.V. Stanley, Quantock Lodge, Bristol; Collection Fritz Lugt, Paris, 1927; Vente Sotheby's, Londres, 03/12/1969, Gonzales Coques (1618-1684), lot no. 68 Littérature: J. Smith, "A Catalogue Raisonné of the works of the most eminent Dutch, Flemish, and French Painters", vol. IV, Londres 1833, no. 13; G.F. Waagen, Galleries and Cabinets of Art in Great Britain, vol. II, Londres, 1954, p. 421; F.C. Legrand, "Les peintres flamands de genre au XVIIe siècle", Bruxelles, 1963, p. 98; A.P. de Mirimonde, "Les sujets de musique chez Gonzales Coques et ses émules", in: Bulletin des Musées Royaux des Beaux-Arts de Belgique, 1967, p. 185; R.D. Leppert, "The theme of Music in Flemish Paintings of the Seventeenth Century", München-Salzburg, 1977, no. 135; L. Dijck; T. Koopman, "Het Klavecimbel in de Nederlandse kunst tot 1800", cat. d'exposition, Zutphen, 1987, no.139; P. Vandenbroeck, "De salette of pronkkamer in het 17de-eeuwse Brabantse burgerhuis", in: Monumenten & Landschappen 9/6, 1990, p. 50; M. Lisken-Pruss, "Gonzales Coques (1614-1684). Der kleine Van Dyck", (Pictura Nova XIII. Studies in 16th and 17th Century Flemish Painting and Drawing), Turnhout, 2012 (en cours d'impression) Le Dr Marion Lisken-Pruss a confirmé l'authenticité de cette œuvre d'après photographie, et celle-ci sera incluse au sein de son catalogue raisonné de Gonzales Coques actuellement en préparation
Gonzales Coques - A Portrait Of A Gentleman, Bust-length

Gonzales Coques - A Portrait Of A Gentleman, Bust-length

Original 1684
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Lot number: 276
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Gonzales Coques (Antwerp 1614/18-1684) A portrait of a gentleman, bust-length oil on copper, oval 4¼ x 3 3/8 in. (10.8 x 8.6 cm.) Private collection, Great Britain. Known as the 'petit Van Dyck' thanks to his elegant small-scale compositions such as this oval portrait on copper, Coques was a favored portraitist among the patrician class in the Southern Netherlands, as well as in England, the Netherlands and Germany. His portraits reveal an affinity not only to the work of Anthony van Dyck, but also to the Dutch masters of small-scale portraiture such as Thomas de Keyser and Gerard ter Borch.
Gonzales Coques - Portrait Of A Gentleman

Gonzales Coques - Portrait Of A Gentleman

Original 1605
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Lot number: 6
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GONZALES COQUES (1618-1684) - PORTRAIT OF A GENTLEMAN
Mis: ; 16.1 by 13.3 cm..
oil on copper laid on panel

PROVENANCE
M. Schamp d'Aveschoot;. His sale, Paris, September 14 1840, lot 54 (as Portrait de Faiderbe)for 220 francs1; . Anonymous sale, Paris, February 9 - 10 1847, lot 33 (as Gonzales Coques, Portrait d'un seigneur flamand);. Gustave Chaix d'Est-Ange (1870-1876), Paris;. Sent to Queen Sophie of the Netherlands for safe-keeping during the Franco-Prussian War, 1870-18712;. Thence by descent in family to Baron Joseph de Teil and Baronne du Teil, née Chaix d'Est-Ange;. Collection Chaix d'Est-Ange sale, Paris, Galerie Jean Charpentier, December 11 1934, lot 17 (as attributed to Gonzales Coques; an old label on the back of the frame lists the sale and lot number).. . 1 According to the article in Les Arts, see below.. 2 According to the article in Les Arts, see below.

REFERENCES
Baron Joseph du Teil, "Collection Chaix d'Est-Ange', in Les Arts, July 1907, p. 12.

CATALOGUE NOTE
This little portrait most likely dates to circa 1650, the same year Coques painted his Portrait of Lucas FaydÂ’herbe, the 17th century Flemish architect and sculptor (now at the Musées des Beaux Arts, Brussels) and Portrait of a Young Officer (Private Collection, England). In all three portraits, which are on copper and are approximately fifteen by twelve centimeters, the mustachioed male subject stands confidently: turned toward the viewer, chest and chin out, eyelids slightly lowered, one hand on his hip, the other resting in front of him. In fact, the compositional similarities between the present portrait and the Portrait of FaydÂ’herbe are so striking that the present portrait was itself identified in its earliest provenance (see below) as a portrait of that architect. By 1650, Coques had effectively adapted the van Dyckian portrait style, but scaled it down to create smaller, more intimate cabinet pieces, which were very desirable amongst AntwerpÂ’s rich bourgeoisie. As is evident in the present example, Coques retained on a small scale the bravura and refinement so admired in van DyckÂ’s larger portraits, a skill which won Coques the nickname, ‘the little van Dyck.Â’ The coat of arms in the present work has still to be identified but is most similar to that of either the Beausart of Holland or the Beaumont de Séchelles from Champagne, France. We are grateful to Dr. Marion Lisken-Pruss, who, based on a transparency, has confirmed the attribution of this portrait to Gonzales Coques, and has provided assistance in the cataloguing of this portrait.
Gonzales Coques - A Family Seated At A Table In An Elegant Garden Exterior

Gonzales Coques - A Family Seated At A Table In An Elegant Garden Exterior

Original 1670
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Lot number: 7
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provenance m. steinkruys, antwerp, 1827, from whom bought by john smith; his sale, london, stanley, 2-3 may 1828, lot 63, for 120 guineas; george granville leveson-gower, 2nd marquess of stafford (1758-1833), before 1833 (created duke of sutherland that year); thence by descent to george granville sutherland-leveson-gower, 2nd duke of sutherland (1786-1861), in 1833, and still at stafford house in 1854 when seen there by waagen; johan moritz oppenheim; his deceased sale, london, christie’’s, 4 june 1864, lot 33, for 115 guineas to rutley; jean-louis miéville; his deceased sale, london, christie’’s, 29 april 1899, lot 59, for 300 guineas to buttery; sir joseph robinson, bt.; his sale, london, christie’’s, 6 july 1923, lot 52; bought back and thence by descent until sold london, sotheby's, 6 december 1989, lot 104, for £145,000, when bought on behalf of the father of the present owner. exhibited london, royal academy, the robinson collection, 1958, no. 14; cape town, national gallery of south africa, the joseph robinson collection, 1959, no. 16; zurich, kunsthaus, sammlung sir jospeh robinson 1840-1929, 1962, no. 12; cape town, national gallery of south africa, 1962-1977, on loan; birmingham, museum and art gallery, 1977-1981, on loan; london, wildenstein, twenty masterpieces from the natale labia collection, 1978, no. 9; cardiff, national museum of wales, 1981-1988, on loan; boston, museum of fine arts, 1988-1989, on loan. brussels, galerie gemeindekrediet; schallaburg, schloss schallaburg, stad in vlaaderen. cultuur en maatschappij 1477-1787, 1991, no. 225; cologne, wallraf-richartz-museum, von brueghel bis rubens: das goldene jahrhundert der flämischen malerei, 4 september - 22 november 1992, and vienna, kunsthistorisches museum, 2 april - 20 june 1993, no. 60.1; antwerp, koninklijk museum voor schone kunsten, van brueghel tot rubens, 12 december 1992-8 march 1993, no. 51; boston, museum of fine arts, the age of rubens, 22 september 1993 - 2 january 1994, and toledo, the toledo museum of art, 2 february - 24 april 1994, no. 58. literature and references j. smith, a catalogue raisonné…, vol. iv, london 1833, p. 257, no. 15; a. jameson, a companion to the most celebrated private galleries of art in london, london 1844, p. 204, no. 121; g.f. waagen, treasures of art in great britain, london 1854, vol. ii, p. 71; f.j. van den branden, geschiederenis der antwerpsche schilderschool, antwerp 1883, p. 485; a. von wurzbach, niederländisches künstler-lexicon auf grund archivalischer forschungenbearbeiret, vol. i, vienna/leipzig 1906-11, p. 335; k. zoege von manteuffel, in u. thieme & f. becker (founded), allgemeines lexikon …, vol. vii, leipzig 1912, p. 385; e. plietzsch, holländische und flämische maler des 17. jahrhunderts, leipzig 1960, p. 205, note 1; g. de vuyst, gonzales coques, dissertation, rijksuniversiteit ghent, 1981, pp. 253-54; p. vandenbroeck, in stad in vlaaderen. cultuur en maatschappij 1477-1787, exhibition catalogue, brussels 1991, p. 148, no. 225, reproduced fig. 462; o. ydema, carpets and their datings in netherlandish paintings 1540-1700, zutphen 1991, p. 156, reproduced (detail); k. van der stighelen, in e. mai & h. vlieghe (ed.), von brueghel bis rubens: das goldene jahrhundert der flämischen malerei, exhibition catalogue, cologne 1992, p. 393, no. 60.1, reproduced in colour p. 394; m.e. wieseman, in p.c. sutton (ed.), the age of rubens, exhibition catalogue, ghent 1993, pp. 392-94, reproduced in colour p. 393; k. van de stighelen, 1994, pp. 118ff j. de maere & m. wabbes, illustrated dictionary of 17th century flemish painters, brussels 1994, reproduced vol. 2, p. 277; h. vlieghe, flemish art and architecture, new haven & london 1998, p. 148 marion lisken-pruss, studien zum Œuvre des gonzales coques (1614/18-1684), dissertation, bonn 2002, pp. 245-251, 299-303, 372, no. 46. catalogue note gonzales coques specialized in portraits of single figures, or as here a family group or company of friends, and he usually worked on a small scale: often, as here, on a copper support. the family depicted remains anonymous. it is not known what source there may have been for the identification of them in the oppenheim and miéville sales as dr. van ruyter lecturing on anatomy, but nothing is known to support this identification. k. van der stighelen proposed an identification of them as the le merchier family of antwerp, on the basis of the likeness of the seated man as jacques le merchier.1 a portrait of him and his family by coques is recorded in 1661, but the present painting must be a decade or so later, and the ages of the sitters do not conform. datable around 1670-5, this picture portrays a well-to-do family outside a lavish palace with a curved marble colonnade framing them, and a grand formal garden enclosed by woodland in a parkland setting beyond. the garden may allude to the relationship of love between the betrothed couple on the left, and the dog that she holds certainly alludes to fidelity. the thistles in the pot to the left are also emblems of fidelity, and the ivy-entwined tree-trunk, a recurring image in marriage-portraits, refers to mutual trust and interdependence. the caged parrot to which she offers food is often included in marriage portrait as an attribute of chastity. the relationship of the couple to the left with the other three figures is not clear. the younger man at the end of the table is perhaps a visitor. the woman next to him rests her hand on the back of the older seated man, and they are presumably therefore a couple, and perhaps the parents of one of the young couple. the older man is holding a pointer to an object held in his other hand which has never been much discussed but never satisfactorily identified. the prominently displayed carpet, which like the table it sits one, must have been moved outside for the occasion, is a persian, and of floral and cloudband pattern.2 these are found in netherlandish paintings from about 1620, but they occur in far larger numbers in paintings, like the present work, dating between 1660 and 1680. in 1833 smith had suggested that the architecture is painted by anton ghering and the landscape and animals by pieter gysels.3 this view was followed by jameson (1844), waagen (1854) and plietzsch (1960).4 marjorie wieseman’’s suggestion that the architecture is by wilhelm schubert van ehrenberg (1630-1675), with whom coques collaborated in other pictures, is more plausible than the attribution to ghering, who died in 1668.5 the old attribution of the landscape and animals to peeter gysels (1621-1690), who liked to paint on copper supports, is however convincing. dr. marion lisken-pruss, to whom we are most grateful, included this work in her dissertation on the artist as a work by gonzales coques, done in collaboration with peeter gysels, and with anton ghering or wilhelm schubert van ehrenberg.6 her dating of circa 1670-75 is confirmed by the costumes worn by the sitters, as well as the hair styles of the female sitters. she compares it with two other late portrait groups by coques: the portrait of an antwerp almoner with his family of circa 1670, and the portrait of clara rubens and her family.7 dr lisken-pruss plans to include the present work in her forthcoming catalogue raisonné. 1 see under literature, 1994. also discussed by lisken-pruss under literature, pp. 247-9 2 see under literature 3 for each see under literature.4 see under literature 5 see under literature6 see under literature 6 idem, p. 245, cat nos. 45, 50. oil on copper
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